Filigree pieces

In addition to the mitre and crozier mentioned above, the chapel of San Fermín contains an interesting collection of silver filigree pieces comprising a chalice, an altar cross and a sacra. Both the chalice and the sacra have an interior structure on which the silver filigree decoration is mounted, while the architectural structure of the altar cross is formed by a compact mesh of silver filigree mounted in the air.

The calyx is articulated by means of a circular base with tapering bodies, with a convex surface between two straight sockets. Shaft with a succession of convex rings framing the semi-ovoid node with a wide mouth at the top. The straight cup is differentiated by a moulding that differentiates the sub-cup. The entire piece, except for the gilt silver sub-cup, is made of silver filigree in its own colour, with a rich ornamentation consisting of arabesque scrolls complemented by flat gadroons on the convex body of the base, grilles on the straight bodies or grooved mouldings and floral rosettes, all of which are of high quality.

The altar cross has a square base on four spherical legs, with straight walls between scalloped mouldings, and four candlesticks in the corners, articulated by hemispherical bodies and floral rosettes. Latin cross with flat, straight arms outlined by scalloped mouldings similar to those of the base and topped by spherical bodies. Oval glass viriles are inscribed on the inside of the arms. On the front panel is a Baroque Crucified Christ, in gilded silver, with three nails, v-shaped arms, Anatomy and a purity cloth with folded pleats knotted at the waist. The head is upright, looking towards the sky, but with closed eyes, already dead, crowned by a nimbus in which the straight rays alternate with fleurs-de-lis. On the reverse, the cross repeats the same pattern outline, with the arms crossed by oval crystal cartouches. The entire decoration of the piece is articulated by means of scrolls that cover the fronts of the base and the arms of the cross, accompanied by the festoons that outline the silhouette of the piece and the spherical bodies of the finials, legs and candlesticks of the base, all in silver filigree in its colour, which contrasts with the gilding of the figure of the Crucified One.

Finally, the sacra has a circular base with tapering bodies composed of a central convex body framed by two straight plinths. Cylindrical neck with a wide overhanging ring at the top that leads to the shaft, with a vase knot with a side handle in the shape of an 'C', and an upper neck followed by a truncated cone-shaped body with warped walls and a ring at the top. On this sits a rectangular plate with a semicircular crest, inscribed with the words of the Consecration Hoc est enim corpus meum. Hic est enim calix sanguinis mei novi, & aeterni testamenti, mysterium fidei, qui pro vobis, & pro multis effundetur in remissionem peccatorum, with some of the letters missing. It is richly decorated with silver filigree that covers an interior structure of gilded silver, which at the base and shaft is articulated by means of vegetal scrolls that frame large floral rosettes of hexagonal mixtilinear profile , while the plate, of gilded silver, is outlined by a border of vegetal scrolls that inscribe palmettes in its interior, alternating with six-pointed stars, which is completed at the corners with schematic fleurs-de-lis. The letters of the registration are also made of silver filigree, as well as a cross with straight arms and semicircular ends, on a mixtilinear pedestal with two lateral ribs, located on the inside of the crest.

Given the lack of documentation on these pieces, the lack of similar examples, the impossibility of marking the silver filigree, the state of research on this subject of works or the traditional nature of filigree work, it is impossible for us to know the exact origin of these jewellery pieces. work In Europe, filigree work was common in Cordoba and Sicily, while in America it was worked in Central America and the Caribbean. These pieces are probably of Central American or Caribbean origin, with the chalice dating from the mid-17th century, the chalice from around 1700 and the cross from the first half of the 18th century.